Royal Palaces and Parks of France Part 14

This Cour du Cheval Blanc acquired its name from a plaster cast of Marcus Aurelius's celebrated steed which was originally placed here under a canopy or baldaquin held aloft by colonnettes. The moulds for this work were brought from Venice by Primaticcio and Vignole, but it was never cast in bronze and the statue itself disappeared in 1626. The courtyard, however, still kept the name until the last of Napoleonic days.

As a Napoleonic memory this Cour des Adieux shares popularity with the famous Cabinet of the Empire suite of apartments where Napoleon signed his abdication. Certainly most visitors will carry away the memory of these words as among the most vivid souvenirs of Fontainebleau.

"_Le 5 Avril, 1814, Napoleon Bonaparte signa son abdication sur cette table dans le cabinet de travail du Roi, le deuxieme apres la chambre a coucher a Fontainebleau._"

The abdication itself (the doc.u.ment) is now exposed in the Galerie de Diane, transformed lately into the Library.

On the right is the Aile Neuf, built by Louis XV, for the housing of his officers, on the site of the Galerie de Ulysse, originally one of the most notable features of the palace of Francois I. Opposite is the sober alignment of the Aile des Ministres, and still farther to the rear are the Pavillon des Aumoniers, or de l'Horloge; the Chapelle de la Trinite; the Pavillon des Armes; the Pavillon des Peintres; the Pavillon des Poels; the Galerie des Fresques; and, finally, the Pavillon des Reines-Meres. All of these details are of the period of Francois I save the last, which was an interpolation of Louis XIV.

The Fer a Cheval stairway, however, most curious because of the difficulties of its construction, dates from the time of Louis XIII, and replaces the stairs built by Philibert Delorme. The tennis court, just before the Pavillon de l'Horloge, dates only from Louis XV.

The imposing entrance court is a hundred and twelve metres in width by a hundred and fifty-two metres in length, and to see it as it was originally, before the destruction of the Galerie d'Ulysse, one must imagine it as closed in by a series of small pavilions with their frontons of colonnettes preceded only by a staircase and two drawbridges crossing the moat, which at that time surrounded the entire confines of the palace. The moat is to-day surrounded, where it still exists, by a bal.u.s.trade, due to the rather shabby taste of Louis XV.

An inner courtyard, known as the Cour de la Fontaine, is incomparably of finer general design than the entrance court, and the Cour Ovale, absolutely as Henri IV left it, is finer still. At the foot of this latter court is the Baptistry where were baptised, in 1606, the three "Enfants de France," the dauphin, afterwards Louis XIII; the Princesse Elizabeth, afterwards the Queen of Spain; and the Princesse de Savoie.

The Cour Ovale is practically of the proportions of the ancient Manor of Fontaine Belle Eau, built by Robert le Pieux. There, too, Philippe Auguste, Saint Louis, Philippe-le-Bel, Charles V and Charles VII frequently resided. Francois I had no wish that this old manor should entirely disappear and preserved its old donjon, a relic which has since gone the way of many another n.o.ble fane. There are several other notable courts or gardens, the Cour des Offices, the Jardin de Diane, the Orangerie, the Cour des Princes, etc.

All the original gardens were laid out anew by Louis XIV, and that of Diane underwent a considerable change at the hands of Napoleon, who also laid out a Jardin Anglais on the site of the ancient Jardin des Pins, where originally sprang into being the rippling Fontaine Beleau, or Belle Eau, which gave its name to the palace, the forest and the town.

[Ill.u.s.tration: _Salle du Throne, Fontainebleau_]

The park, as distinct from the great expanse of surrounding forest, is a finely shaded range of alleys, due chiefly to Henri IV, who cut the great ca.n.a.l of ornamental water and ordained the general arrangement of its details.

The princ.i.p.al curiosity of the park is the famous Treille du Roy, or the King's Grape Vine, which, good seasons and bad, can be counted on to give three thousand kilos of authentic _cha.s.selas_, grapes of the finest quality. One wonders who gets them: _Ou s'en vont les raisins du roi?_ This is an interrogation that has been raised more than once in the French parliament.

In general, the aspect of the exterior of the Palais de Fontainebleau, the walls themselves, the Cours, the alleyed walks are chiefly reminiscent of the early art of the Renaissance. Francois I is, after all, more in evidence than the Henris or the Napoleons. Within, the same is true in general, though to a less degree. The Renaissance is _maitresse_ within and without; the other moods are wholly subservient to her grace.

There is hardly an apartment in all the world of palaces in France, or beyond the frontiers, to rank with the great Galerie Francois I at Fontainebleau, though indeed its proportions are modest and its lighting defective to-day, for Louis XV blocked up all the windows on one side.

It remains, however, one of the richest examples of the Franco-Italian decoration of its era, though somewhat tarnished by the heedlessness of Charles X.

Never were there before, nor since, its era such mythological wall-paintings as are here to be seen. The aspirants for the Prix de Rome protest each year against such subjects being set them for their _concours_, but their judges, recalling how effective such examples are, are insistent. The best examples of the School of Fontainebleau are a distinct variety of French painting. The veriest dabbler in art can say with Michelet: "There is no reminiscence of anything Italian therein."

Frankly, these works were the product of secondary artists and their pupils. Leonardo da Vinci, too old to do anything more than direct, saw himself succeeded by Del Sarto, Rosso and Primaticcio. Cellini may have contributed, too, but his labours were doubtless blotted out to a great extent by the orders of the all-powerful d.u.c.h.esse d'etampes who feared his compet.i.tion with her protege, Primaticcio. One of the masters of this coterie was Nicolo dell' Abbate, better known, perhaps, for his works painted at Bologna than for his frescoes at Fontainebleau.

[Ill.u.s.tration]

The Galerie Henri II is notable also for its decorations, the harmonious juxtaposition of sculpture and painting, and, although "restored" in late years, presents an astonis.h.i.+ng pristine vigour. This apartment ranks with the Galerie Francois I, all things considered, as one of the chief show apartments of the palace. Its length is thirty metres, its breadth ten, with five ample round-headed windows letting in a flood of light on either side, one set giving on the Cour Ovale, and the other on the Parterre and the magnificent facade of the Porte Doree. The ceiling is broken up into octagonal _caissons_, their depths alternately laid with gold or silver, bearing the monogram of the monarch and his _devise_. The parquet is laid in divisions reproducing the design of the ceiling. On either side the walls are wainscoted in oak similarly emblazoned in gold and silver, with the initials of Diane de Poitiers, and of her admirer, Henri, everywhere interlaced. Again, a colossal monogram reproduces itself in the chimney-piece with the frescoes of Nicolo dell' Abbate, and fifty figures of mythological G.o.ds and heroes decorate the window casings.

The chapel dates chiefly from the time of Henri IV, the altar and numerous embellishments belonging to later reigns.

A certain sentiment, not a little real beauty, and much unauthenticated history attach themselves to the Salon Louis XIII, the Salle du Trone, the Apartment of Madame de Maintenon, those of Napoleon I, of Pope Pius VII and of Marie Antoinette.

The Galerie de Diane is little reminiscent of the day of the huntress, being a reconst.i.tution under the First Empire, though its decorations date from the Restoration, and the ceiling, and furniture, apparently of the best of Renaissance times, are merely copies made by Louis Philippe, who did not hesitate, on another occasion, to blue-wash the Salon de Saint Louis, and who hung worthless third-rate paintings, which even provincial museums of the meanest rank have since refused to house, in the admirably decorated apartments of the period of Francois and Henri.

Fontainebleau, to-day, is but a memory of what it was, a memory by no means fragmentary, by no means complete; but all sufficient.

Of later years there is actually little to single out in the way of remarkable additions or restorations. Under the Second Empire the Galerie Francois I was repainted, some false antiquities added as furnis.h.i.+ngs, and various ranges of books were stored away in the Galerie de Diane, having been brought from the chapel which had ceased to serve as the Library. This apartment was now refitted as a chapel, and, to supplant six wall paintings which had been removed, Napoleon III ordered seven canvases from the painter Schopin, ill.u.s.trating the life of Saint Saturnin.

[Ill.u.s.tration]

Finally, the Salle de Spectacle completes the modern additions, and, while gaudily striking, is scarcely above the taste of a gilded cafe in some pompous Prefecture.

Henri IV was the creator of the park of the palace, which extended as far as the village of Avon and absorbed all the Seigneurie de Montceau, of which Mi-Voie (the dairy of Catherine de Medici) occupied a part. The acquisition of the Seigneurie was made in 1609. Across it was cut a "grand ca.n.a.l" in imitation of that already possessed by the Chateau de Fleury. It was a great rarity as a garden accessory, and was more than a quarter of a league long and forty metres wide. Ba.s.sompierre said in his memoirs that Henri IV made him a wager that it could be filled with water in two days. It actually took eight.

To the north of the park, Henri IV built, under the name of La Menagerie, what he called a _maison de plaisance_, but which was really the forerunner of the animal house at Versailles.

To all these works of Henri IV in the gardens at Fontainebleau is attached the name of Francine. There were two brothers of the name, Thomas and Alexandre, and it was the latter who chiefly occupied himself with the Parterre, the Chaussee and the Grand Ca.n.a.l at Fontainebleau. In the Jardin de la Reine he erected the celebrated Fontaine de Diane which finally gave its name to the garden itself. The fountain was designed by Barthelemy Prieur, and was cast in 1603. The original bronzes are now in the Louvre, those seen at Fontainebleau to-day being later works (1684).

The Forest of Fontainebleau is a dozen leagues in circ.u.mference, and of an area of nearly thirty-five thousand acres. Its beauty, its natural beauty, is unrivalled. Rocks, ravines, valleys, patriarchal oaks and beeches, plains, woods, glades, meadows, lawns and cliffs, all are here.

Its population of stag and deer was practically exterminated during the Revolution of 1830, but nevertheless it sustained its reputation as a great hunting-ground for long afterwards.

The Royal Hunt invariably centered at La Croix du Grand Veneur, a notable landmark of the forest even now, at the intersection of four magnificent forest roads. Its name comes from a legend of a spectral black huntsman who was supposed to haunt the forest, and who appeared for the last time, in reality or imagination, to Henri IV shortly before his a.s.sa.s.sination.

In 1854, one of the last and most gorgeous of Fontainebleau hunts was given by Louis Napoleon. The emperor spent lavishly for the equipment of the hunt, and granted liberal stipends to the attendants that they might caparison themselves with some semblance of picturesque dignity; horses and dogs were furnished and cared for on the same liberal scale.

The costuming of a hunting party under such conditions was not the least appealing of its picturesque elements. Three-cornered hats, gold lace, knee breeches, silk stockings and other costly properties, when provided for a single special occasion, as they were in this case, were apt to suggest the life of centuries long gone by rather than that of modern times.

The Forest of Fontainebleau can best be briefly described as a rendezvous for tourists and "trippers," and as a vast open-air studio for the youthful emulators of "the men of Barbison."

Historic, romantic and artistic memories and realities are on every hand; the march of time and progress has not dimmed them, nor thinned them out; the Forest of Fontainebleau remains to-day the best known and most delightful extent of wildwood in all the world.

The chief of the well-known names a.s.sociated with the Forest of Fontainebleau, and one which will never die, is that of Denecourt, called also the "Sylvain de la Foret," a mythological appellation which came from his abounding knowledge of its devious ways and byways. It was in 1841 that Denecourt began his original studies and catalogued its every stone and tree. He invented names and gave a historical setting to many a picturesque and romantic site which might not have been known at all had it not been for his enthusiasm.

After the vogue of Denecourt all the world followed in his footsteps until the Parisian knew as well the Longue Rocher, the Gorges d'Apremont and the Gorge de Franchard as he did the Rue de la Paix or the Champs Elysees. Denecourt's great work, "_Promenades dans la Foret de Fontainebleau_" appeared in 1845, and if he is to be criticised for letting his fancy run away with him now and then, and for the opera bouffe nomenclature of many of the _caves_ and _mares_ and _chenes_ and "fairy-bowers" and "tables of kings," he at least has enabled a curious public to become better acquainted with this great forest.

The flora of the Forest of Fontainebleau is remarkably varied; Denecourt gives seventy varieties of plants and flowers which grow and propagate here naturally, to which are to be added a great number of nondescript vines, lichens and vegetable mosses.

Of the trees the list extends from the imposing and sometimes gigantic oaks, elms, beeches, and willows to shrubs and heather growth of the most humble species.

A score or more of the most commonly known feathered tribes people the forest to-day with almost the same freedom of life and abundance as in monarchial times. The songsters are all there, from the robin to the nightingale; as well as the partridge and the celebrated indigenous grouse.

Previous to 1830 the forest was well supplied with big game, deer and wild boar without number; but, in later times, as was but natural, these have been greatly thinned out. Rabbits and hares, to say nothing of foxes and the like, were formerly so abundant that, under Louis Philippe, it was necessary to carry out what was practically a war of extermination. To-day they exist, of course, but in no great numbers.

Another sort of publicity has been given the Forest of Fontainebleau by its a.s.sociation with the painters of the thirties. Theodore Rousseau, in 1836, lived at Barbison, which at that time was but a hamlet of a few houses, with no enc.u.mbering hotels, garages and merry-go-rounds as to-day.

A certain Pere Ganne kept a sort of a lodging house where artists were made welcome at an exceedingly modest price. Not only the really famous and much exploited painters of the time gained fortunes here, but those of a more conservative school, who never rose to really great distinction, also drew much of their inspiration from the neighbourhood, among them Hamon, Boulanger and Celestin Nanteuil.

Without having to go far to hunt up their subjects, the Forest of Fontainebleau lying near Barbison offered to painters much that was not available within so small a radius elsewhere.

Diaz was here already when, in 1849, Jacque and Millet arrived upon the scene, and at more or less frequent intervals, and for more or less lengthy stays, there came Corot, Dupre and Daubigny.

Just what the Barbison school produced in the way of painting all the world knows to-day, but these men were originally the target of every prejudiced critic of the Boulevards and the Faubourgs. The present day has brought its reward and appreciation, though it is the dealers who have profited--the men are dead.

[Ill.u.s.tration: _Monument to Rousseau and Millet at Barbison_]

In memory of the fame brought to this little corner of the forest in general, and to Barbison in particular, there was placed (in 1894), at the entrance to the village, a bronze medallion showing the heads of Millet and Rousseau. It was a delicate way of showing appreciation for the talents of those two great men who actually founded a new school of painting.

At the other end of the forest is the little village of Marlotte, also a haven for many painters of a former day, and no less so for those of to-day. The old forest in three quarters of a century has seen itself reproduced on canvas in all its moods. No painter ever lived, nor could all the painters that ever lived, exhaust its infinite variety. Hebert in his "_Dictionnaire de la Foret de Fontainebleau_" says, rightly enough, that, with the coming of the men of Fontainebleau and its "_artist-villages_" the cla.s.sic type of "Paysage d'Italie" has disappeared from the Salon Catalogues.